Reviews (29)

Very underrated
If you sometimes find yourself shouting "Judas" at the radio when Bob Dylan comes on playing something band-backed, this record is probably not your thing.
Me, I love it. It's too short by far, but Dylan and the Rolling Thunder band rock like never before or since. In my opinion, the intense "Hard Rain" is just as great as the fabled "Live 1966" (the so-called Royal Albert Hall concert from the Free Trade Hall in Manchester).

Bob Dylan and his band play some of the hardest, rawest and most ragged rock n' roll music of his entire career - just listen to him tearing through a spiced-up "Maggie's Farm" and a melodious folk-rock interpretation of "One Too Many Mornings".
But the highlight of "Hard Rain" has to be the closing ten-minute rendition of the venomous "Idiot Wind". Dylan sneers and shouts his way through a magnificent version of his most memorable song - that one cut alone is worth the price of admission.

Underrated live album
The lone official document of the Rolling Thunder Revue, this may be skimpy on song selection, but what is here is immaculate. Opening up with a powerful version of Maggie's Farm (Dylan's long-time concert staple), it then leads into yet another incredible re-invention of One Too Many Mornings. The set continues with the always fun "Stuck Inside of Mobile..." before going into Oh, Sister, another staple of the Rolling Thunder tour. Lay, Lady, Lay comes up next, which gets a big response from the crowd (it was requested earlier.) I Threw It All Away has a nice rendition here as well. However, the true standouts on this album are the re-workings of three songs from Dylan's masterpiece, Blood On The Tracks. Shelter From The Storm is the first of these, more of a raging version here, and every bit as profound. You're A Big Girl Now is an excellent, excellent re-make... featuring numerous instrumental sections, and some particularly agile guitar playing. Still... the closing version of Idiot Wind is worth the price of the album itself. Long one of my favorite Dylan songs, this powerful song lends itself well to a raging live performance, and Dylan puts it across convincingly here, putting some real grit and emotion into the song. It's almost like a mantra; it's power is undeniable. While I don't reccommend this for your first live Dylan album (Live 1966 and Before The Flood both serve the casual fan better), it is certainly a must-own for fans.

Essential Live Dylan
My god, what can I say...I'm listening to this album for the first time in about ten years....finally replaced the casette from my college days. Sounds as incredible as ever. While not the most polished of live recordings, this album makes up for that in that it represents the true essense of a Dylan show. To me, this is Dylan's best live recording. I agree with some of the previous reviews in that the song selection could have been better, but not much better, as the mix of songs does work extraordinarly well. I think the tempos are perfect, from the opening of the record with with Maggies Farm to the final Idiot Wind. Great album by a great musician. Can't miss with this one.

The First Rolling Thunder Record
"Hard Rain" came out right after "Desire" in 1976 and Dylan did the "Hard Rain" TV show to kick off the record. Curiously enough the songs on the video were different than the ones on the record. And no "Hard Rain's A-Gonna Fall" on the record. How dumb was that. He performed the song all over on that tour, but left it off the live recording of the tour of the same name. And the great stuff he did with Joan Baez, included on the video, but not on the LP. Who planned this record anyway? He should be shot. Fortunately those mistakes were corrected when "Rolling Thunder" the last one out in the legal Bootleg series was released. To bad it took 'em over a generation to figure it out. Only three stars for this one, and that's sad.

Reviewed by Stephanie Sane

Not what I expected.
Okay Dylan album. If your hard core you would want it, if not stick to the basic Dylan stuff. ... Read more

Amazon.com

No Other Love is the sixth album in a solo career that began whenCalifornia native Chuck Prophet split fromGreen on Red in 1990.Green on Red helped lead the way for the insurgent country of the 1990s, but onhis own Prophet has grown far beyond the category. His previous album, 2000'sThe Hurting Business, wasa striking breakthrough--hip-hop scratching and samples added to his bedrockcountry and R&B influences. No Other Love is maverick genre-bending inthe manner of Beck andJim White, and thestylistic variety suits Prophet's compositions, peopled by crazed desperados andbeautiful losers. The songs run the gamut from the raunchy horn-driven swaggerof "That's How Much I Need Your Love" to the stinging, pleading "Elouise," wherehis ever-inventive guitar vies with Farfisa organ. Prophet enjoys spicing songswith pop culture references, but his wry humor is counterbalanced by a strongmoral undertow in "I Bow Down and Pray to Every Woman I See" and the beautiful"Summertime Thing." This is a Prophet with plenty of honor. --GavinMartin ... Read more

Reviews (22)

The Summer of Prophet
This CD hasn't left my player (well, not much, anyway) since I got it. The only way I can describe this fellow is: Chuck Prophet is the musical love child of a triangle involving Lucinda Williams, Jim Morrison and Bobbie Gentry. (In fact, save Jim, they should all go on tour together) But, I digress...the lyrics are chewy and profuse, the tunes are simple and catchy (just right for rolling around the streets of summer with the windows rolled down), and sexy vibes drip from Chuck's vocals. To this woman, this man is one of the most appealing singers around right now. His songs, voice and guitar work pull at my heart (and places below that). Tell me you don't think so too.

An unexpected pleasure
I bought this disc after hearing a download of the song "Summertime Thing". The song clicked with me, and I figured I'd give Chuck a chance. 9 times out of 10 I end up giving the disc one listen, and then it's long forgotten. Well, "No Other Love" beat the odds. I can't say enough about this album. At times Chuck's vocals sound a lot like an old favorite of mine, Jerry Jeff Walker. The production on some songs (CP produced this himself) reminds me of Gus Dudgeon's production on some of Elton John's earlier albums. There's even hints of Mark Knopfler in here. That said though, Chuck Prophet is truly an original talent. He puts his all into every song, from writing, singing, guitar playing, and producing. And the variety of songs just keep me wanting to hear the album again and again.

There is humor, joy and a definite honesty in this album that is sorely missing in today's arena of popular music. A great album by a talent who truly deserves greater recognition.

After 2 listens I was hooked
I was not familiar with the music of Chuck Prophet until I caught him on Austin City limits. I bought this cd the next day and popped it in the machine. At first it sounded a bit strange to me but after giving it a second listen I found myself really enjoying everything about this. The lyrics are cool, the instrumentation is different and yet it rocks when it needs to. I can't stop listening to this and will be picking up his earlier releases. I hope they measure up. At times I am reminded of Tom Petty but the arrangements are more complex than anything Petty's done. A really great CD.

No Love for this CD
Wow, I couldn't believe this CD got all great reviews from the previous customers. I figured there would be at least one bad review from what I've heard from this CD. I picked up No Other Love early this year because of the hit song "Summertime Thing." Besides that and "After the Rain," no other song interests me. Don't be deceived by all the positive reviews.

I need to point out that there is a great variety of styles exhibited by Prophet - blues, jazz, country, rock, and so forth. But he uses way too much variety in this compilation. I don't need to hear a million different instruments, Chuck. It gets annoying really quickly. However, he's got a distinct and likeable voice. That's the only thing he's got going here. The melodies are not catchy at all and after a couple of listens, these tunes get played out easily.

I do not want to make this CD seem like it's that bad, even though it's probably one of the worse CD's I've ever owned. It's just that his eclectic style is so hard to enjoy, coming from somebody who enjoys classic rock, alternative, punk, oldies, and soul. I enjoy all types of music but Chuck Prophet has a problem mixing these together. As much as I want to love this CD and the artist (him living in San Francisco now), I cannot do so with No Other Love.

If you're like me and don't like spending $15 on a new CD and have to sell it for much less later, pick up a used Prophet CD and go from there. I guarantee that many of you will end up selling it anyway.

Is there a Prophet amongst us?
If I would have to categorize I'd say...a mix of Ben Harper with Bob Dylan with Lou Reed. Though it's some good music I wouldn't say there is enough there to elevate it to 5-star status.

Granted, Chuck Prophet delivers enough to keep you listening, but what is he doing is not too different than what Ryan Adams (not to be confused with Bryan) or Kirk Wallinger's World Party has done before. Granted Prophet is the harbinger of good music to a dry world, but what he lacks to elevate him to sublime status is an element of originality that fails to break him out of the neo-hippy bring peace the world mentality quasi-folk easy going blues that has been capitalized by so many others. Chuck Prophet is not without cause though.

Track 7, "Elouise" is spirited enough. "Take off those glasses, let me feel your pain." It rings of elements of Jakob Dylan's "Wallflowers." I suppose the highlight of Chuck Prophet's "No Other Love," is "What Makes Monkey Dance," in which he breaks loose with cool grooves and cigarette-stained voice. It's not enough to elevate mind you, but it's enough to keep listening. ... Read more

Reviews (16)

POETIC FUSION OF SOUND AND WORD
New Skin For The Old Ceremony represents Cohen's first break from the early folk simplicity of his classic albums Songs Of Leonard Cohen, Songs From A Room and Songs Of Love And Hate, as it boasts a wider array of instruments including trombone, viola, percussion, mandolin and trumpet. This fuller instrumentation, together with a less restrained vocal style, makes the collection more varied. It's as if he deliberately veered closer to the rock tradition here. In retrospect, the delivery on some of these songs now sound not dissimilar to the feel of Death Of A Ladies' Man (1978), especially on e.g. Is This What You Wanted? His trademark spirituality is much in evidence on tracks like Chelsea Hotel No. 2, Lover Lover Lover, Who By Fire and Take This Longing. Although not all the songs here live up to his highest achievements, this album confirms Cohen's unusual gift for striking sexual/political metaphor and rich allusive imagery.

Poetry in motion
New Skin For The Old Ceremony is a masterpiece, and one of Leonard Cohen's best albums. It's a truly great effort, and too often overlooked. Although his first three albums - particularly the first and third - are all certified masterpieces, this one, his fourth, was his first attempt to move beyond them in scope. Incorporating background vocalists and a wider array of instrumentation than he employed on those sparse first three efforts, Cohen creates here an album broader, more epic in scope than its predecessors. He also began, for the first time, to lighten up on the subject matter of his lyrics: incorporating some - albeit rather dark - humor into several of the songs here, Cohen creates an album - which, along with its broader musical pallette - that is a much easier listen this his first three, which were at times so depressing as to lend themselves to the status of "mood" albums. That said, Cohen is Cohen, and his themes remain the same; he has a lighter touch here at times, is all. Although the opening track, Is This What You Wanted?, features lyrics like "You were K.Y. Jelly/I was Vaseline" much of the rest of the album is pervaded with a deep and dark sense of self-loathing: Cohen places himself on a pedastal and de-construcs his persona as he did on "Avalanche", but in a much less abstract, far more direct and disturbing way. Cohen at this time was going through a period of extreme personal depression and writer's block (which would culminate in the Phil Spector collaboration on Death of A Ladies' Man), and songs such as Field Commander Cohen and A Singer Must Die attest to his state of mind at the time. A deep, dark, driving masterpiece with just the right amount of light touch, New Skin For The Old Ceremony is a great album, and an essential purchase for any admirer of Leonard Cohen.

Marred by a few lackluster songs
I must admit, Leonard Cohen bounces back and forth between my #1 and #2 spots on my "best musicians of all time" list (he and Tom Waits switch places depending on my mood). Yet with the exception of his first album I find it hard to give any of his albums five stars. Typically Cohen includes a few songs that simply aren't as evocative or haunting as the masterpieces that peek out between them. On this disk that slot is taken by the songs "Why Don't You Try" and "Is This What You Wanted?". Both songs limp along ably enough to their finishes; it is just that in contrast to the genius displayed elsewhere by Cohen, they come off as filler songs that push the total track number up high enough to call this an album. These are songs that lesser lyricists would be happy to call their best, but with my higher standards for Cohen I am still holding out for an album as consistent as his first.

You may be wondering now why I count Cohen as my first-or-second favorite artist after I have expressed such opinions about his music, and the reason is simply this: that when he's good, he's so good that he blows everyone else away. One of his greatest songs is on this album: "Chelsea Hotel #2". This song at first drove me, like Dylan's "Rainy Day Women #12 and 35", to wonder where the first version of "Chelsea Hotel" had gone. but after one listen to the song, I decided it was irrelevant. The version Cohen has here is flawless. I have heard that this song was written for Janis Joplin, but personal details become unnecessary in the face of such a heartfelt and powerful song. One does not need to have had the exact experience Cohen describes to understand the feelings he is converying; you only need to have one "fallen robin" in your past and his song can mutate into your story, told better than you ever could tell it. The song also contains a bitter and ironic last verse that rivals "Dress Rehearsal Rag" on "Songs of Love and Hate" for reversal of audience expectations.

But don't think that's the only good song here. "A Singer Must Die" is a poignant allegory, one even more relevant as we witness loss of traditional civil liberties in the US and in other parts of the world. "Who By Fire" is justly ranked among Cohen's best also, detailing what I hear as a list of different ways to die, though I would welcome remarks from anyone with a different interpretation of the meaning of this song. "Who by Fire" also demonstrates the proper way for Cohen to integrate the choir of females he employs as back-up singers into his songs in a tasteful manner. In later albums he seems to abuse their existence, allowing them to upstage his mellow, despairing voice. But here they blend perfectly. Finally, "There is a War" foreshadows Cohen's explicitly political turn in his later album "The Future". All in all, this ranks among Cohen's better recordings, and it is worth wading through the mediocre tunes to get to his true gems.

A step up for Cohen
"You were Marlon Brando, I was Steve McQueen/You were K.Y. Jelly, I was Vaseline/You were the father of modern medicine, I was Mr. Clean/You where the (...) and the beast of Babylon, I was Rin Tin Tin," Leonard Cohen sings on "Is This What You Wanted," a song that displays the much-needed dose of humor added to his lyrical exercises in regret and self-depreciation on his fourth album, 1974's New Skin for the Old Ceremony. New Skin's more varied instrumentation, looser vocal approach and added wit make it Cohen's best album yet. Although he was always a finely skilled and richly tender poet, one could only endure so much of Cohen's earlier albums as spirit-stomping and disheartened as they were. Although the main subject matter of New Skin is still grief, Cohen confronts life's tragedies with a different approach. He abandons the mournful wailing of songs like "Bird on a Wire" or "Stories of the Street" and the somber expressions of "Hey, That's No Way to Say Goodbye" or "The Stranger Song" and dons a type of charisma, classified somewhere between crooner and beatnik, and stands in a mock-confrontational pose, challenging both the complicated nature of society ("A Singer Must Die," "Field Commander Cohen," "There is a War") and distressing predicaments with another cast of abusive, self-destructive, yet intoxicating women ("I Tried to Leave You," "Chelsea Hotel #2," "Leaving Green Sleeves") with a fistful of clever irony and satire. Cohen's tongue being placed in his cheek does not, however, equal the complete loss of the intimate, folk rock beauty of his music. "Who by the Fire" is as striking, moving and poignant any song the man has written and "Take This Longing" is one of his most ardent, elegantly expressed requests. Generally, the album keeps the solemn and dignified air of Cohen's previous works. Its added whimsical flair only makes his music more entertaining and invigorating.

The Best Early Leonard Cohen Album
There may be better songs by Leonard Cohen and others, but there is no better lyric than "is this what you wanted to live in a house that is haunted by the ghost of you and me?" Chelsea Hotel #2 is just about the best song there is, and Greensleeves shows how to take a song and blend in new lyrics. ... Read more

Reviews (16)

Her most representative LP and finest moment
"The Moon Is A Harsh Mistress" by Jimmy Webb (Jimmy Webb remains one of the quiet giants of music behind the glitz and glory of others, listen to his contribution to Carly Simon's "Film Noir" for one of Carly's and Jimmy's and popular music's finest moments) begins this journey beneath the gentle mist of a midnight moon with this first and lasting impression. The title alone is brimming with poetry and anticipation. The lyrics mingle with Judy's voice and the orchestral arrangements in the most natural way, giving this song a richness that will linger long after the song concludes. "Angel, Spread Your Wings" has a lighter tempo, a bit ethereal. One is lulled a little further on the journey. "Houses" a song written by Judy, and perhaps one of her best authored pieces (I would compare this song to anyone of John Denver's best songs). "The Lovin' Of The Game" a nice folksy song to sing around the campfire. A slight similarity to "City Of New Orleans" in tempo. "Song For Duke" another song authored by Judy. Touching tribute. "Send In The Clowns" one of the greatest songs written and performed. I remember every Sunday going into Chicago for some entertainment and friendship, and on the way home it was almost invevitable that Judy's "Send In The Clowns" was played on this classical station that highlighted popular music to enriched the soul. It was usually the perfect song for the conclusion of a perfect Sunday in Chicago. "Salt Of The Earth" a Jagger/Richards song that showed their writing skills. This is one of my least favorite songs on the LP/Cd, though I recognize it as a well written song. "Brother Can You Spare A Dime" is a song one can only understand years down the road of life. "City Of New Orleans" Enjoy! "I'll Be Seeing You" is one of this LP/Cd's very best moments. This is one of those songs that bridges generations, speaks past the time and fashions of the moment. I love everything about this song. The lyrics enrapture you, the arrangements entangle you, and the voice envelops you. Everything a song is suppose to be. "Pirate Ships" this is another folksy campfire song, but this one has a poignance that cannot be mistaken for being lighthearted. One not only sings along with this one but also experiences it at many other levels. "Born To The Breed" is another song authored by Judy. One of those reflective parent to child songs that works.......I usually don't write a song by song review but this collection begs for this kind of attention and respect. There are some collections (LP's) that define a particular period, and this is one such collection that not only defined a particular period, but trascends it.

An Overlooked Gem
'Judith' is one of those great albums that you listen to and find yourself thinking, "I wish they still made them like this." This CD is a real treasure. The disc begins with "The Moon is a Harsh Mistress," a song that if you don't know, you should. The song could really be classified as chamber music. The woodwind work here is very nice. "Houses" is another great arrangement, a bit more romantic in nature than "Moon," showing that Judy's talent is making a great romantic song sound romantic without getting sappy or boring. The disc also contains some nice soft-rock tunes like "Angel Spread Your Wings" and "The Loving of the Game," but one tune I really latched onto is "Song for Duke," a tribute to Duke Ellington. This is touching praise to The Duke, as Judy sings with regret the fact that she didn't really know much about this musical giant until after his death. How often do people discover the true genius of artists only after their deaths, only to come to the sad realization that no more will they produce great music for the world to enjoy. A very nice tribute. What more can be said about "Send in the Clowns" other than it is one of the great songs of our time. This is the place to hear it. "I'll Be Seeing You" introduced me to some of the great older tunes that I never knew existed before hearing this album. The rest of the disc is full of great treasures with the exception of Judy's cover of the Rolling Stones' "Salt of the Earth." The song is great, but it just doesn't work for Judy. But even this slight blip can't upset a great collection of tunes that you can easily lose yourself in. Thanks, Judy.

One Album You Will Keep and Enjoy Forever
I've had a slightly scratchy version of this album for over 20 years and thoroughly enjoy it,especially when I am in a pensive mood, or just want to hear some inspirational music, often with a social message that transcends the decades ---including "Salt of the Earth." Now I'm finally upgrading to a CD.
The tribute to Duke Ellington brings me close to tears each time I hear it. And now that baseball season is upon us, the late, great Steve Goodman(a devout Chicago Cub fan) is remembered with a solid version of his "City of New Orleans." The listener can feel part of that venerable train as it heads downstate in Illinois.
Judy Collins has done so much for the world, and the world of music, so it is impossible to single out just one album ---but make sure you have this one (in a new CD if possible) in your collection. And take a ride with her on the City of New Orleans as it rolls down the track with "the disappearing railroad blues."

This is Judy Collins at her best
every recording artist has one album which is their masterpiece
and for Judy Colins it is this one. Every song is excellent
and her voice,production,arrangements, and choice of songs is
the best. "Send In the Clowns" is the song she was meant to
sing--it is her song. Although the whole album could have been
based on this one song---every song is different and all types
are included. I own "Colors of the Day", "Hard Times For Lovers","Times of our Lives" also and each one is different and excellent

music for the heart
Goosebumps are always going on when I listen to this album. My mom and I listened to this music together and it always reminds me of us singing Judy's songs together. There's only one song which I don't care for but I love everything else. ... Read more

Amazon.com

Dar Williams's success as young '90s folkie isn't hard to discern. She has a consistent lyrical intelligence, an evocative, if sometimes cloying soprano, and a steady, graceful finger-style guitar skill.But, what's more, she has tapped into a yearning for immediacy and sincerity among her college-age (and mostly female) audience.Williams's first record is her sparest, simplest and best.The subject matter ranges from geopolitical fears, family turmoil, and gender angst, and her finest song remains "When I Was a Boy," a story of what it means to become a man or a woman: it should strike any listener with a shock of recognition. --Roy Francis Kasten ... Read more

Reviews (47)

The Poet Laureat of the Cusp
The thing that makes Dar Williams unique is that we can all identify with what she's singing about. Growing up in the wake of the Baby Boomers, a little too old to really be GenX, her songs about a childhood with a hippy babysitter and cold war fears resonates with a lot of thirty-somethings out there, such as myself. But I'm fairly confident that this accoustical effort will appeal to those outside my demographic as well. And what you get with this album is a first-person confessional, not of pain and sin, but of life in America.

If you're familiar with her later recordings, this album is a nice departure from the full-band folk-rock she's become equally adept at. Most of the music on this album is simple folk guitar and Dar's vocals. The lyrics are nothing short of brilliant; personal and intimate, without ever going over-the-top to hokey. Nearly every song on this album speaks from and to the heart.

Dar has made many more albums since this one, and it's always interesting to see which new direction she's taking with each release. But even as her music gets more complex with the addition of a full band in later albums, she still maintains the pure songwriting gift that this album so spectacularly showcases.

Dar Williams' very best
This is my very favorite Dar Williams album. It is raw and simple, not over-produced, and that makes it all the more beautiful and moving to me. I truly love every single song on this album and it is in my top ten list of my favorite albums of all time. And that's quite an honor from me, as I'm a very eclectic music-lover with countless favorite songs, albums, and artists. If you like folk music at all, this is a must-have.

One of the Great Lyricists
To me, some of the highlights of this album were --

Flinty Kind of Woman that is just a hilarious, tough Southern woman song.

When Sal's Burned Down, which had me thinking -- yeah, it IS a shame that not enough of us are really "cowboys anymore" as she puts it. Nothing more boring than obedient folks.

And Traveling which contains the great lyrics, "I'm not running away from myself, it's just myself ran away from me, and I gotta get it back."

Dar Williams is a great lyricist, and has a knack for setting her smart, honest lyrics to catchy tunes.

For myself, I liked MORTAL CITY a little better as a whole. This album almost seemed like a warm-up to that.

But if you're obsessed with Dar Williams' album, MORTAL CITY, and you want a second album -- this is the one I would get next.

The only opinion I will ever write for this company:
I was thinking about my sprained outlook on certain aspects of life... I got this album, it nudged some of the discs back into place. Dar's not a preacher, but "The Honesty Room" is naked, generous, unapologetic and energetic. In a culture where most music is blantantly geared toward mass-appeal consumerism, where the fact that performers can't sing is voiced-over and choreographed away, where "pop" equals "product placement," a singer/songwriter (or anyone else) who isn't afraid to show the world who she sees in the mirror is unbelievably refreshing. This is an aptly named, beautifully layered CD, with many styles for many moods. It makes me want to go hiking through the mountains of Montana.

Real
This CD is one of Dar's finest! Dar's lyrics are honest, warm uncluttered and straight to the point. Her song construction is amazing. In my opinion Dar is one of the most talented singer /songwriters in music today. The Honesty Room is the proof of that talent. It sings to the truths inside of all of us. ... Read more

Amazon.com

Beth Nielsen Chapman has long been a music-industry favorite, with the likes of Elton John championing and performing her songs. To say she's had it rough, though, barely does justice to the events that inform 1997's Sand and Water and its follow-up, Deeper Still--the death of her husband and her subsequent fight with breast cancer. Deeper Still's acceptance of hard truths will resonate with many listeners, while others will raise an eyebrow at Chapman's insistence that there are "angels by [her] side." As Hallmark as she can sometimes seem, though, it feels a bit churlish to throw stones at someone who could've folded as easily as continuing to record. Deeper Still offers nothing as pop perfect as "This Kiss," the hit she cowrote for Faith Hill, but those tuned to its singer-songwriter pitch will treasure it nonetheless. --Rickey Wright ... Read more

Reviews (9)

Simple, beautiful, pure--
Very simple lyrics and comes with lyrics on the jacket too! I love this CD. Listened to it all day yesterday and today... If you like her previous Sand and Water be warned this is much different. It is quite religious but not in a preachy way, more spiritual. All the songs seem quite good, except I can't seem to figure out "deeper still". Guess what? I think that's a good thing! Keep searching, and if you are thinking about buying this CD I would strongly recommend it!

Listen to this with an open mind.
On 1st hearing, this Jennifer Warnes 'sound-alike' conveys a religious-leaning and a preoccupation with the meaning of love. For macho males, the album could be a put-off; for those with more sensitivity, a spark of fascination could happen. For it is quickly evident that this lady is sincere in the poetry she writes. Hints arise of the writings of e.g. Leonard Cohen, Dougie MacLean, Nanci Griffith, and others. The support she is given by other singers such as John Prime and Vince Gill is unobtrusive and pleasant, and I wanted to play the album again immediately.

I consider this album to be special. This assumes that we can put aside inhibitions and listen openly to the content of the songs. Some are upbeat; many are slow and reflective.

As for the recording, the information informs us that numerous sites are used for the recordings. On good equipment this shows: in lack of clarity and in digital 'edge' to the voice. In what seems a common style in US C & W recordings, there is little ambience and the sound does not open up enough; my 'ScanSpeak' tweeters appear to have taken a vacation! A quick check with a digital editor shows clipping; with minor clip restoration, plus slight presence lift, the sound becomes more acceptable.

Do listen to the poetry...

Unspeakable loveliness!
I wanted to rate this CD 5 stars, but I think that rating should be reserved for rare works that truly stand far above the run of the mill. This one is close, but rates only 4 in my book because, despite the extremely moving tunes and gorgeous lyrics, Beth Nielsen Chapman is only an average vocalist.

This is an extremely moving CD from beginning to end. It might not lift your heart, but it will stir your soul. And art is about moving you in some way, even if it is not always upbeat and happy.

Other reviewers have commented on the famous singers who have lent thier talents to back-up vocals. This, I think, is a tribute to the strength of the material that Ms. Chapman has created.

Other reviewers have also commented on indvidual songs. The one that moved me most is called, "Sleep" as I recall. On it, Ms. Chapman sings of "The same heartcrushing sorrow, the same unspeakable loveliness... all at the same time." These lyrics could describe the entire CD.

Enthralling
I have been a fan of Beth Neilsen Chapman since I heard her perform "Sand and Water" on TV. I then spent 6 months trying to find the album. "Sand and Water" led me to her other albums. I fell in love with them all, and eagerly awaited the release of "Deeper Still." I'm very glad to say I wasn't disappointed in the least. The songs on this album are what I've come to expect from her: moving, truthful, and unique. The piano work on "Every December Sky" is beautiful, the upbeat optimism of "World of Hurt" is refreshing, and "The Feathers, the Bones, and the Shells" is a haunting piece about the transience of all we hold dear. This is a great work in the portfolio of an artist I hope to hear much, much more from.

DEEPER STILL US TRULEY "MUSIC FOR AND FROM THE HEART"
I ordered this album a couple of weeks ago and today it came in the mail. I sat down to sit back and enjoy....and wow!!!!! I was blown away by her vocals, poetic lyrics, and above anything...a tale of survival in an everchanging and not very kind world. Her songs on this collection run the full length of emotions....WORLD OF HURT which is basically her take on society at large and finding love in such a complicated universe as ours. ANGELS BY MY SIDE tells how she has been able to overcome so much pain and strife by believing someone is watching over her.....SHAKE MY SOUL is my favorite track with backing vocals by Bonnie Raitt and Annie Roboff...and the two closing tracks ALL FOR THE LOVE and THERE'S A LIGHT (backing vocals by Emmylou Harris) ends a wonderful album on an upbeat note....the note and moral being "THERE IS ALWAYS HOPE". If you want to be swept off your feet musically, savor this cd! ... Read more

Reviews (18)

Grandly Fantastic
I had not heard of Erin McKeown until this past December when she did an interview and played some songs live on my favorite radio station, WNCW, (wncw.org). She came across as genuine, funny, articulate and concerned about her musical integrity. I ended up downloading/purchasing 'Grand' from iTunes and loved it! In fact, so much so, that I'm now buying the CD from Amazon so I can get the full fidelity of the music.

This is one of those albums that just grabs you. It's been number 1 in my rotation since December. It's trippy, fun, full of life and highly recommended.

grand is grand
erin is on tour promoting her brand new cd, which is exactly where i picked up my copy of grand after her show at Joe's Pub last night. her music is just that- grand- and her choice of adjectives is consistent with her 1930s/Judy Garland-era stylings. Erin has the voice to match her music and her strongest material are the songs that resemble old-time standards. indeed, she gives credit to garland repeatedly throughout the cd and also on stage.

the songs have a range from catchy (in an appealing way) singles i've been hearing on the radio for weeks thanks to wfuv (wfuv.org) in new york like "Slung-lo", to more rockin' numbers like "cinematic", actual standards like "lucky day" or her intelligent takes on old themes as in "the taste of you". my only complaint is that it doesn't compare to seeing her live.

amazing!
so great. love it and all the rest of her work. this may be the best (at least today). buy it!

not so grand...
First, let me say - I really wanted to LOVE this album. Not just like - love, people. I've seen Erin several times, every chance I can get. I have never been disappointed, even when she was playing the material from the album Grand. She is still a fantastic singer/songwriter/performer.

BUT, this album has left a hole... I hate to pigeonhole her and ask that she stay true to her original form on the first two albums... However, this album didn't feel like it was so much her anymore. A lot has to do with the band, but the melodies were much more Popish with only an inkling every once in a while of original style.

Lyrics are still good and her singing has never been better.

I'm sorry Erin, I won't give up seeing you and buying your cds, but I hope you will reclaim a bit of what is yours.

the most perfect voice ever
I saw Erin McKeown for free at Mount Holyoke College... the moment she began singing I was transfixed by her voice. She has the most amazing voice I've ever heard... it's so clear, yet so warm at the same time. Even if she didn't have incredibly great songs and killer talent on the guitar, she would be worth listening to because her voice is so incredible... the fact that her songs grab you and don't let you go and her musical style is deliciously diverse is an added bonus. "Grand" is definitely worth purchasing. ... Read more

Reviews (19)

The Rise and Downward Slope of a brilliant musician...
The rise and fall is not accurate, but something happened to Dan Fogelberg's music in the early 1980's. His sales fell dramatically through the decade, and the majority of his songs since then don't have the feel and emotional commitment of yesteryear. An exception is "Seeing You Again" from the ballads disc on this set, but there's little to recommend anything in his catalog after "Windows and Walls." This is unfortunate because instead of being positioned in chronological order, this set is divided into Hits, Rock and Roll, Ballads and Tales and Travels. The final 3-4 tracks on each disc are more recent, and all tarnish what are brilliant discs to that point.

So why bother with this when the greatest hits packages are out there? For truly excellent photographs and liner notes, and for the inclusion of "The Last Nail," "Tuscon, Arizona (Gazette)", "The Innocent Age," "Phoenix," "Netherlands," "The River," "Ghosts", "Empty Cages" and many other classic Fogelberg album cuts which are in many cases stronger than the hit singles. They're all here, too, of course, and it's wonderful to hear "Leader Of The Band" and "Heart Hotels" in this context. It's just unfortunate that the man's decline--not unlike that of Crosby, Stills & Nash over the years--is so apparent when the old stuff sits alongside the more recent.

An Awesome Portait of a Master Songwriter!
Dan Fogelberg is one of those few songwriters that can blend great lyrics with wonderful music. His songs don't just tell a story they paint a picture. Although he's known for his top 40 hits he never compromised his standards when writing and producing his albums. This box set gives the listener a great feel of how his music progressed though the years.

One of the strengths of this collection is the format. Each of the 4 CDs included have a main theme. CD #1 is a "greatest hits" listing, covering all his hits from A to Z. CD #2 are ballads that weren't hits but were popular with his main-stream fans. CD #3 covers his "rock-n-roll" side, and CD #4 has his stories of places and people. Each CD is well worth listening to. Of course all the hits are wonderful, but some of my other favorites are "Nexus" off CD 4, "As the Raven Flies" and "The River" of #3, and "Tucson, Arizona" off #4.

I would recommend this to any music fan who is looking for a great musical experience.

Good collection, but look at what's missing
I've been a huge Fogie fan for nearly 3 decades, and how can he put out a boxed set of 62 songs with NO inclusion of "Times Like These", "Love Gone By", "Lost In the Sun", and "Someone's Been Telling You Stories"?

The Living Legacy
This box set is a MUST for all Fogelberg fans. All of his incredible hits are included, mixed with fabulous lesser known titles. For the new listener who's been drawn in by Fogelberg's well known and often played "Leader of the Band" and "Longer", this purchase will continue to inspire and amaze. Dan Fogelberg's music is the mastery of poetry in motion. I remember hearing him on the radio as a young child but have only recently, in my late 20's discovered my deep love and appreciation for his music. I've attended his concerts each year for the last three years, and have been blown away. Some will say Fogelberg's music is a thing of the past. Those that listen to his music today will appreciate the timeless quality that continues embrace and inspire many.

Beautiful music X 4!
Dan has been one of my favorites since he started recording, and this set showcases a brilliant career. But like a lot of others, I wonder what happened to A Place In the World For A Gambler. Of all the box sets in my music collection, this is the only one that NEVER gets dusty. I play it at home, in the car and it goes to work with me, too. I've even turned some of the 20-somethings I worked with onto this man and his incredible music. Dan is amazing, on record and in concert, and this set is nearly perfect. ... Read more

Reviews (19)

A stand out debut album of the 80's
" I've discovered yoga " declared Tikaram in an interview back in 1998 in her effort to explain the uplifting character of her then just-released new record " The Cappuccino Songs " . That was probably the last thing we've heard from her .

Almost ten years earlier the strikingly beautiful singer with the exotic name managed to gain everyone's attention with " Ancient Heart " , a debut full of elegant pop which , among else , included an instant classic , the haunting " Twist In My Sobriety " . That song remains until today the highlight of her career , not that the album's good moments end here . The dark " Preyed Upon " , " Valentine Song " , the jazzy " He Likes The Sun ' and especially " I Love You " ( " ... the reasons why are not to be said " ) are other great tracks for the listener to cherish . The album sold an amazing 4 million copies not because of some aggressive advertise campaign but only thanks to Tikaram's virtues as an artist . She is blessed with a deep , distinctive voice and her songwritting revealed wisdom and sensitivities beyond her years .

Despite all that though it's difficult to say whether Tikaram is as criminally underappreciated as some claim . Unlike Suzanne Vega or Tracy Chapman who also appeared during the late 80's yet continued to release compelling work after their debuts , Tanita followed her starling first album with less sharp and interesting recordings . Scared gospel efforts ( " Deliver Me " ) and moody daydreaming ( " I Might Be Crying " ) suggested she hadn't deceided towards which direction to go to . Only on her sixth and latest record did she showed that finally she feels safe in her own skin and offered stunning love ballads ( " Amore Si " , " Stop Listening " ) which deserved to get her to the top 5 once again . Who knows ? Maybe for her next album she has an ever bigger suprise for all of us ...

Ancient Heart is an album to fall in love with or to.
Although I heard, over the space of six or so weeks when I was in high school, the song "Twist in My Sobriety" played on a local rock and roll station, it was merely included in the rotation as equality fodder, sandwiched between Melissa Etheridge and the latest sappy love song by Heart. Years have passed and I find Tanita Tikaram albums dumped in clearance bins and I wonder why.

Every once in a while a musician simply happens: "Ancient Heart," Tanita Tikaram's debut Lp, on Reprise Records, redefined my expectations of popular culture. Here was a largely folk album with massive pop appeal that nobody listened to. I actually entertained myself with the notion that the music was too good for other people to get: on the internet, fans have often refused to pick a favorite album or a favorite song.

Indeed, on "Ancient Heart" there is no single track which stands out as "better" than any other, though the surprise is that no song stands out as a weak link. The eleven tracks that make up this album are polished, deliberate, individual entities which complement each other in the most subtle ways. Tikaram's vague lyrics prevent the kind of sappy nostalgia that dates music: there is no "Teen Angel" or "Don't Dream It's Over" to stamp this as a Decade of Shallow release.

It has been a decade since I first heard this album. (Wow!) There is not a song on it that is old or tired. There is not a track that I skip through. There is not a reason in the world to not put this album on "repeat" and play it all day. Best song? Pick one.

oboe in TOMS
I bought this as tape in 1990 and as a cd when it came out because I fell in love with "Twist of My Sobriety" especially the way that oboe toots then weaves and waffles in and out around the melody. It sends shivers all over. Oboes are not used that much in popular music. When combined with the song writing artistry heard here and the throaty voice of Ms. Tikaram, that oboe riff is outstanding.Also I can listen to "The World Outside Your Window" all day it has such a clean, bouncy sound. I don't understand why Tanita Tikaram doesn't get the accolades she deserves. I hope that changes.

Amazing
I say this record is amazing for several reasons. First, its a highly unique, personal and original piece of work. More like a piece of art, actually.
Twist In My Sobriety is fantastic and oh the almost tortured sound in Tanita's voice. Good Tradition is incredible as well. Tanita's music is so good lyrically and musically, you can't help but to get taken away by it. The music paints clear pictures, almost fantasies. The Beatles would be proud of this music, ala Sgt. Peppers or their Rubber Soul days.

Secondly, did you KNOW Tanita was, like 18 or 19 when she wrote and recorded these songs. The maturity and talent she had at that age is truly remarkable. Compare her to Britney Spears and the other teeny boppers out there. Its nice to know that it is possible to still have truly great artists who are capable of playing music, and not cheap commercial fodder for the pitiful masses, most of us have become.

Worth it for "Twist in My Sobriety" alone
Frankly I don't remember much of the rest of it. I bought this (again, having lost my original somewhere) and recorded "Twist" to minidisc, and filed the CD. But that song is one of THE BEST. ... Read more

Amazon.com

After a string of slick albums that de-emphasized his folk-rock past, The Old Kit Bag marks a return to Thompson's indie-label roots. Produced by John Chelew (John Hiatt, Blind Boys of Alabama), it was recorded quickly with a minimum of overdubs and just a handful of musicians (double-bassist Danny Thompson, drummer Michael Jerome, and background vocalist Judith Owen). Fortunately, this spare approach serves Thompson well because he's such a strong and varied songwriter plus a remarkably distinctive guitarist. Longtime fans will likely gravitate to the musical equivalents of comfort food--the weepy ballad "Happy Days and Auld Lang Syne," the revved-up rocker "I'll Tag Along," and the brooding melancholy of "First Breath." Yet subsequent listens reveal the subtler charms of a gorgeous jazz-pop ballad, "I've Got No Right to Have It All," and the righteous anger of "Outside of the Inside," on which Thompson, a devout Muslim, attacks the moral emptiness of religious fanaticism. Thirty-five years after his debut with Fairport Convention, Thompson proves that he's yet to exhaust his store of ideas or his will to challenge himself and others. --Keith Moerer ... Read more

Reviews (30)

gorgeous stuff
Richard Thompson is so far ahead of the game when it comes to songwriting, guitar-playing and general musicianship it can seem downright unfair. For those of us who have been listening to him for years, it also sets the bar extraordinarily high any time he embarks on a new project because our expectations are inevitably sky-high. It took a few listens for me to become truly enthused by this album, but at this point I can say my initial wariness was merely a symptom of the material's complexity and consistent ambition. Word Unspoken, Sight Unseen and I'll Tag Along were the songs I found most accessible; Jealous Words and Outside of the Inside the ones I had to work a bit to love, not just admire. Now I'm a fan of them all. The production on this album is even more pared down than its immediate predecessor, Mock Tudor, but just as fresh and uncluttered; it buzzes with much of the energy of Thompson's legendary live performances. Judith Owen's backup vocals are particularly welcome; I'm one who thinks Thompson's voice can do with a bit of leavening from time to time, and he hasn't duetted this serenely since the Linda era.

Quite a few reviewers here have wrestled with the question of where this album ranks in the Thompson oeuvre. But honestly, who cares? This is gorgeous stuff, dense, layered, immensely satisfying, like a bottle of wine from the Arabian Nights you can keep drinking and never exhaust. One of the pleasures of Thompson's broad grasp of music and musical history is that he can sound groundbreaking for 2003, or groundbreaking circa 1596, or even -- strange, but true -- both of these at the same time. Richard Thompson is truly a minstrel in rocker's clothing, and Old Kit Bag, like so much of his work, is both playful and dark, as sweet as it is weighed down by the accumulated melancholy of centuries. Oops, he hath done it again.

The Whole Kit and Kaboodle
"The Old Kit Bag" is the irony drenched title of Richard Thompson's best album in 20 years. This is not a party record, as one lyric asserts, "I've other fish to fry". This is the great songwriter's most sombre effort since "Shoot Out the Lights" and would fit snuggly between that masterpiece and the unearthly "Pour Down Like Silver". Gone or muted are the sarcastic broadsides at easy targets, the vapid rockers about bad women, the fascile, acid pop and cloying schmaltz. This is bracing and often beautiful stuff, fans of his 70s work should sing hallelujah.

It kicks off with the ruminative "Gethsemane" a bleak update on the babe from "The End of the Rainbow" all grown up. The bitter yearning of the chorus is heartrending. Thompson howls at the close of "A Love You Can't Survive" in a way he usually reserves for his guitar, and the performance stunned the crowd in a NY CD store concert last week, "shaming it quiet" in Greil Marcus' words. There are rockers, the rousing "Jealous Words", the angular "Pearly Jim" and the toothless "I'll Tag Along", but the electric guitars are often subdued to pre-"Lights" levels, and it's telling that the best soloing is acoustic. The production is spare but beautifully articulated, varied guitar tonalities interwoven with mandolin and dulcimer, Thompson handling everything but bass and drums. Judith Owen provides some choice harmonies, but this is the first of his solo records where I've really missed Linda. As back in the day, the warmth of her voice tempered the prevailing austerity and set his melodies in their best light. What might she have made of the luminous "First Breath" or the love among the ruins of "Sight Unseen"? And Thompson exposes more of his Sufic side than usual in the jaunty "One Door Opens" and his post 9/11 anatomy of a fundamentalist, "Outside of the Inside".

The only thing that seperates Richard Thompson from Bob Dylan, Joni Mitchell, Neil Young and Eric Clapton is popularity, and likely it's the severity of his vision that's to blame. Well this is Richard Thompson straight up, no concessions. And it towers.

Traipsing down the folkie path
Moving along in no particular hurry, the 12 cuts on this CD are a less than successful return to Thompson's folk roots. Earnest, romantic lyrics dominate, centered on Thompson's emotionally charged vocals, surrounded by traditional instruments like the mandolin and dulcimer, creating a sound that is just a bit too laid back. All the songs seem to be coming from the same musical base and some (particularly "First Breath") move along so slowly that I find my attention wandering long before the end. There were no stand outs here, just a friendly folk fest; my expectations for Thompson's work are much too high to be satisfied by this one.

How Does He Do It?
Here's another amazing effort from Mr. RT. What can I say, that he's improving with age? That's kind of a cliche and the fact is he's been so good for so long that some of the usual review tropes don't apply. But I will say that this album contains what may be Thompson's best singing ever. The music is complex, the playing assured, the lyrics edgy and thought provoking, the characters and their stories achingly real and strangely uplifting. A thinking person's rock and roll disc that reveals deeper levels with repeated listenings. Give a copy to someone you love.

No mere blast from the past.
This is a very good record from an artist who has been making high quality music for over 30 years. But it's not remarkable just because Thompson still has something to say after all that time. This is a very good record full stop.

Thompson manages to cover a wide stylistic ground on this recording (a pop song with great hooks, power trio rockers, eastern dirges, even a nightclub blues) yet so accomplished are he and his backing musicians that it never sounds like experimentation or art for art's sake. The subject matter is broad too - from the trademark Thompson cynical look at love affairs gone wrong to a chilling look at the world outside through the eyes of a religious fundamentalist. Not happy stuff on the face of it, but it's one of the abiding mysteries of Thompson's ouevre that he can dwell on the dark and unhappy side of life and yet make music that is so satisfying and joyous.

And, of course, there's the guitar playing. Not only does Thompson have chops way beyond most of the players we think of as guitar heroes, but even when he's shredding the strings and ripping the frets clean out of the fingerboard he always complements the song so well and his playing is very much to the point. He's no mere eccentric, not just a celtic oddball: Playing of this skill and inventiveness is reason enough to buy The Old Kit Bag.

I was just a touch apprehensive when I bought this record. All the Thompson I have on CD is at least 20 years old. Could he still be vital? Could his slightly eccentric style and his eclecticism still work in the 21st century and after 30 years of making music? After all, this is a guy who has played and toured for so long that he has RSI (seriously - he has to ice his left arm before and after every concert).

But I needn't have worried. The Old Kit Bag is no blast from the past, no token offering from old legend living on past glories. This is a collection of deft songs, superbly executed by a man who still has something to say, the passion and craft to say it very well and who clearly enjoys having his say about life and the world. ... Read more

Reviews (5)

Prine crosses over
The Beatles White Album, Jerry Jeff Walker's "Too Old To Change," Tom Waits and Bob Dylan -- mix these together and you have John Prine's "Pink Cadillac." It isn't country, it likes the Rolling Stones and Muddy Waters, it is dense and pleasing and you don't have to like country music or rock to appreciate it -- it sighs and flows and kicks and lives in its own space. I like "Common Sense" the best of Prine's other CD's, but I also love Merle Haggard and The Clash -- so sue me. This CD is brilliant, and the song "Siagon" will take you elsewhere if you let it, and if you are armed. Genius.

try to rent a pink cadillac
I give this one four out of five only becuse it has "How Lucky" on it. The rest of the album ain't so grand. So, if you want to finish your Prine collection, buy it used. But, if you haven't bought all of his earlier stuff yet, I suggest grabbing those ones first.

Not Prime Prine
Dont Expect Typical Prine Here. This One's A Bluesier Disc That Was Recorded At The Sun Studio's With Sam Phillips Son's At The Board.It's Very Raw And Kind Of Hard To Understand At Times. They're Is Some Good Stuff On Here But Probably His Weakest Effort Compared To His Other Music.

A Party Album for Die-Hard Prine Fans
Pink Cadillac sounds like Prine got together a few buddies and a bunch of beer and recorded an album meant to be played loud. For fans looking to expand on their collections, this is a great album to show how serious Prine was about not being pidgeon-holed in one type of music. On the downside, because the recording is of a lower quality and the mixing favors the guitars and drums over the words, listeners have to dig a little deeper to find those tear-jerk gems and nuggets of wit and wisdom. He can still break your heart (how Lucky) and crack you up (the irreverent Chinatown) but most of these tracks are meant to be just plain fun. For those who are looking to round out their collection, this album is about as raw as Prine's music gets. For those who are just starting out, I'd suggest getting some of his earlier albums, or the grammy winning Missing Years, first.

Prine Rocks
This is one of my personal favorites of John Prine. The album is actually rockabilly, so it may take you by surprise but the album is a rollicking good time. Check out Saigon and China Town on this album. His tounge in cheek lyrics are still here this time he just cranked up the volume a bit. Good album. ... Read more

Reviews (9)

This is my favorite album
When Whales and Nightingales first came out I was thirteen years old.I fell in love with it then, and continue to love it now.This says a lot for its staying power, since I am a very different person now than I was then, and my musical tastes have changed drastically!Judy Collins' voice is haunting and lovely, and each song is perfect in its own way.Farewell To Tarwaithe, Simple Gifts, and Amazing Grace are my favorites, but there's not a bad song in the bunch.This is a great sing-along album for wanna-be sopranos, or you can listen and marvel at the crystal clarity of her voice.I wish she was doing albums like this now!

Judy Collins sing "Amazing Grace" (and with whales)
When you listen to "Whales & Nightingales" the big question is which song do you find more haunting, her crystal clear version of "Amazing Grace" or "Farewell to Tarwathie," which is sung over the accompaniment of Humpback Whales.This 1971 album made it all the way to #17 on the pop charts, which makes it her second most successful album after her 1968 "Wildflowers" album.The glorious soprano voice is always there and the quality of a Judy Collins album always comes down to the songs.This time around we have Bob Dylan's "Time Passes Slowly" and songs by Jacques Brel ("Marieke") and Pete Seeger ("Oh Had I a Golden Thread"), as well a nice little original composition ("Sons of").Consequently, while you can get the two "hits" from this album on her hits collection, there are several other songs well worth having in your music library, making "Whales & Nightingales" a Judy Collins album well worth having.

Judy the Nightingale
Judy Collins' Whales and Nightingales was the type of music that reached beyond all the specialized niches of the seventies and presented an eclectic mix of Pop, Folk, World Music before there was anything by that title, gospel, and then her work of mourning over the loss of her relationship with Stephen Stills:Nightingale I.It is a story about the loss of faith.It is Nightingale II that moves me emotially.Basically an instrumental rendition of Nightingale I, the orchestrated song take us to another plane.

Amazing Grace, Simple Gifts,and all the others.I belive this is a perfect Judy Collins Album.

Save the whales, and albums about whales as well...
One of JC's very best, along with "Fifth" and "Maidens/Golden Apples of the Sun" and the not-yet-transferred to CD "Judy Collins/3". Everybody I knew bought this one when it came out. "Simple Gifts" and "Amazing Grace" and "Farewell to Tarwathie" and "Oh, Had I a Golden Thread" are all great.

Judy Collins At Her Magical Best!
I remember seeing Judy in concert in the quite informal setting ofAvaloch, a wonderful sylvan natural amphitheater that all the folk starsfrom Collins to Joan Baez to Joni Mitchell to Kris Kristoferson to Tom Rushto James Taylor performed at along the back roads of Lenox, Massachusettsin the summer of 1969 or 1970. Sadly, it is now the site of a ritzy set ofexclusive summer condominiums for the New York summertime Berkshires crowd. Yet I can still recall hearing Judy with that magical soaring voice ofhers warming up on stage with "Amazing Grace" as we filed onto the grass,and the song so echoed and reverberated over the warm humid airwaves thathe older folks at Tanglewood, some six or seven miles way, complained aboutthe noisome interruption. It became an inside joke that Collins, Baez andothers would playfully aggravate when performing for the very very mellowcrowd of counterculture fans. I recall a certain sweet aroma waftingthrough the air, too, and it wasn't the smell of cotton candy. Of course,it probably goes without saying that I love most of the songs on thisalbum, from the opening cover of Joan Baez's "Song for David" to JacquesBrel's magical"Sons Of" to the wry and cautionary Irish folk tale of "ThePatriot's Game". It is hard to pick a personal favorite from this list ofabsolutely terrific songs, but since I named my daughter after one thesongs (Jacques Brel's "Marieke"), I guess I will single that one out forspecial consideration. This is a snapshot of a one of the titans of modernAmerican folk music, taken at the peak of her awesome vocal andcollaborative talents. It is one sure to please the most discriminating ofwell-trained folk ears, and one I am sure you will come to treasure as muchas I do. Enjoy. ... Read more

Amazon.com

There was a time when Dar Williams flubbed her chords, forgot herlyrics, and could only make it through a set due to the enthusiastic support ofher fans. Now she's a seasoned and poised folk-rocker and a mesmerizing liveperformer, although this recording fails to reflect it. Sadly, her magneticpersonality and energy seem lost here. Recorded during her 2000 tour behindThe Green World, OutThere Live too often falls short of both her lush studio recordings and hervibrant stage performances. Although upbeat numbers like "As Cool As I Am" and"Are You Out There?" nearly summon the patented Williams charm and verve, hermore plaintive, quiet songs, such as "February," "End of the Summer," and "WhenI Was a Boy," sound exhausted and flat. No new songs or covers are included,most arrangements vary only slightly from existing studio recordings, andWilliams frequently sounds downright bored. Her endearing stage banter iscaptured in a few song introductions, but it is not enough to carry an albumthat will please only die-hard fans. --Sally Weinbach ... Read more

Reviews (25)

excellent album
I first encountered the music of Dar Williams in college. I was flitting around looking for new music in the shared directory and ran across some Dar songs. I was very impressed. I like the folk sound to her music and I ran across some songs that became some of my favorites: "As Cool As I Am", "The Christians and the Pagans", "What Do You Hear in These Sounds," and "Are You Out There". I wanted to buy one of her cds, but the songs I loved were all on different albums. Then I found the live album that works like a greatest hits album. The songs that I love were on the album...and I also got a chance to experience some more great songs, including "The Babysitter's Here". I've never seen Dar Williams in concert, so I can't comment on the live experience compared to the live album....but I'm very glad I bought this.

For diehard Dar Williams fans
I personally really enjoyed this live album from Dar Williams. I haven't seen her live yet so this album is a real treat for me. All the songs on this album are my favorite Dar Williams songs like "After All", "Spring Street", "As Cool as I Am", and "End of the Summer". Hearing those songs live added a rawness to the songs that I just didn't hear on the studio versions. I thoroughly enjoyed the intros to "I Won't Be Your Yoko Ono", "Are You Out There", and "The Babysitter's Here". The intros almost reminded me some of the dialogue off Ani Difranco's "Living in Clip" which I found to be quite eery. I thought the intros added a nice touch to the album. Normally I don't care for live albums with the exception for "Living in Clip" and now "Out There Live". Although there isn't a song I haven't heard before by Dar on this album, I honestly enjoyed listening to it. Not a single dud on this cd.

opened my mind...
Dar Williams...beautiful strong feminine voice. This album moved me more than almost anything else that I have listened to in the past year. Hearing her live is exciting because it is raw and beautiful, not overlayed with unwanted information. It is true, honest and beautiful. This album truly brings across the idea of live performance. It is crisp, yet not overdone. I can honestly say there is not one track on this album that I do not like.

She's amazing, but...
I first discovered Dar at a concert in Snowmass Village, near Aspen Colorado. I had never heard of her in my life, being from Australia, but I went along anyway and was completely mesmerized! From "Iowa" to "What do you hear in these sounds" I couldn't believe her cool, honest lyrics and voice. I got "The end of the summer" and love it, but the live album wasn't so great--I recommend her others, as each wonderful song is given more clarity in her other albums.

just TRY not to cry!
A good friend of mine is obsessed with Dar's music, and burnt me this CD. I didn't think I'd enjoy it, but I gave it a try anyway, just to be polite. What followed was one of the most haunting and harrowing musical experiences I've ever had. Ms. Williams is perhaps the finest songwriter in modern music, and I'm not forgetting giants like Rob Thomas and Tori Amos. Her lyrics touch me so deeply, and she forms such strong melodies, that I sure that while she isn't so popular now, in a hundred years she will not be forgotten. In my opinion the standout track is "February," but "Iowa," "Are Your Out There?" and "The End of The Summer" are almost as brilliant. I will never tire of Dar's music, and tears will never fail to jump to my eyes at this lyric in "February":

"And I tried to remember,
But I said, 'What's a Flower?'
You said, 'I still love you.'"

I would give this ten thousand stars if I could. What an experience! ... Read more

Amazon.com

Like others in that amorphous genre called roots rock, Jimmy LaFave, Texas-born and Oklahoma-raised (hence the album's title), is a critics' darling whose past efforts earned acclaim placing him in the tradition of his heroes Woody Guthrie and Bob Dylan. That's risky, since others who've endured similar plaudits often fell short of the hype. As does LaFave. Gravelly voice and all, he's awash in pretense from the first note. His Guthrie tribute is earnest to the point of overkill (Dylan's "Song for Woody" covered the same ground more eloquently). His own "Poor Man's Dream" spews inane rural homilies, as do "Red Dirt Song" and the hackneyed "Rock and Roll Music to the World." Reviving the silly, dated hippie anthem "San Francisco," a 1967 hit for folk-rocker Scott McKenzie, might seem clever, but the result is quirky for quirky's sake. A fine line exists between artful and mannered earthiness. LaFave not only works the wrong side of that line, he demonstrates a total mastery of every rootsy cliché known to man and nothing more. --Rich Kienzle ... Read more

Reviews (15)

beautiful music
I admit, I haven't listened to the entire CD because I can't afford to buy it yet, but KGSR in Austin plays "Never is a Moment" a lot. The first time I heard it (and every time since) it went straight to my heart. It is indeed, as one other reviewer said here, one of the most beautiful songs ever written. He sings it from the depths of his soul. I wonder who he wrote it for? I think of someone whose "dreams are far away" whenever I hear it. If this was the only song on this CD, I'D BUY IT! Great work, Jimmy. Love, from a fan.

Moon May Be A Harsh Mistress, but On Texoma It's Sweet
This is an album that I cannot shelve. I keep getting drawn back to it again & again. They say that for an actor, the best role is one that allows for a wide range of emotions; and on "Texoma," Jimmy LaFave's sweet tenor certainly moves from rowdy to tender with ease. The throbbing guitar line that opens "Bad Bad Girl" is addictive. John Phillips' beautiful ode to hippy days, "San Francisco," comes off exquisitely with David Webb's rolling piano like waves on the ocean. LaFave is in tremendous voice on the gorgeous ballad where he sings, "There never is a moment you are not on my mind." "There's a new highway song playing in your soul," is a great lyric from the cheerful midtempo # "This Glorious Day." Electric guitar propels "Poor Man's Dream" through this country march. Gretchen Peters has become one of my favorite singers this past year. (I recommend both of her CDs, particularly her self-titled one.) So it was a real treat to hear Jimmy do her "On A Bus to St. Cloud" that Trisha Yearwood also recorded. The ballad is sweet and LaFave's tenor is so expressive. "Rock & Roll Music to the World" is kind of rock fluff for me, but enjoyable, which is followed by the midtempo rocker "Red Dirt Song." The sentimental homage to country legend "Woody Guthrie" is growing on me, even if old Woody is "three sheets to the wind." (This song started a family discussion of where that pharse originated which we have yet to answer.) One of my favorite tracks is "Tears" that is a soulful ballad which is like seeing the light after a strong storm. LaFave doesn't dwell on it, but sings, "You'll see what faith can do." "Love Can Find It's Own Way" is joyful country pop. The barrelhouse piano sounds more like Jerry Lee Lewis to me that the "King" on "Elvis Loved His Mama." What a great song selection of Dylan's "Emotionally Yours." Stinging electric guitar makes "Patient Man" another favorite of mine. "On the Road To Rock & Roll" offers some of Webb's nice boogie piano. Jimmy Webb has been a great favorite of mine for a long time, rightfully known as a master songwriter, but equally beautiful as a singer. LaFave's reading of "The Moon's A Harsh Mistress" stands up well to either Jimmy Webb's or those by Joe Cocker, Linda Ronstadt, Joan Baez and Judy Collins. "Texoma" is a great CD because it offers so many different kinds of songs from slow to fast and inbetween, well balanced with tasteful cover choices. This is one not to miss!

Texas soul
I had thought that contemporary country music had faded into cheesy superficial irrelevance. I was wrong. There are musicians all about the country that shine with great talent. Jimmy LaFave is one. He transcends genres. He has a great voice, and knows how to sing a song in a truly captivatin way. Everyone should give Jimmy LaFave a spin. His music doesn't dissapoing. I especially like "On A Bus to St. Cloud." Jimmy LaFave provides great music, that transcends genre, and even gets a Bostonian like me digging his sound. His music, and his voice is filled with heart, and perhaps Texas Soul.

ONE OF OKLAHOMA'S FINEST!
Lafave is a singer/songwriter who plays in the alt.country, roots rock, and pop ballad fields. I've had the good fortune of seeing him live at the quaint little Blue Door Club here in Okla. City. A place where he plays often and always puts on a fantastic show. The critics haven't always been kind to him in the past with their reviews (whatta they know anyway) but the one thing Lafave has always had going for him is that great voice. His vocals can be silky smooth, as on Bob Dylan's "Emotionally Yours", or the reworking of the John Phillips classic "San Francisco". A song I always thought was a little wimpy, that is until Lafave got a hold of it and added better vocals and arrangements to it. He also has a roadhouse rockin' side, and displays it on this album more so than any of his past efforts. I like the Tulsa style rockers of "Poor Man's Dream" and "Patient Man", a song that was written by Greg Jacobs, the owner of the Blue Door Club. But he gets his rowdiest on the songs "On The Road To Rock And Roll" and the old Ten Years After rock classic "Rock And Roll Music To The World", where he changes the lyrics around and uses a lot of references to Texas and his native Oklahoma. This is a wonderful album that aims to please on many levels. I think it's his best studio album, and his best one since that classic first cd "Austin Skyline", which is a killer live album. I can't wait to catch his live show again just hear some of this new material. I think I can confidently say after 10 years of listening to Lafave, that this is the best singer (sorry Garth) to ever come out of the state of Oklahoma.

5 stars and 2 crowns
Lafave has for me two crowns: one, he is the best rock ballad singer in this world, and, two, he covers Dylan songs better than anyone else.
If you think Springsteen can tear you down with a ballad then listen to this guy, it's like the clouds are closing on your head. More than once he has brought tears to my eyes. And I am a tough guy, the one who never cries, or almost...
Then he is a great rocker, and again he reminds me of Springsteen (and Forbert too).
You will find many great covers of Dylan songs in his live dbl cd "Trail", here he only covers one song by Bob.

This cd is just another great add to this man's catalog, and deserves like anything else he's done 5*, still if you are newcommer to Lafave then start by buying "Austin Skyline", a masterpiece. ... Read more

Reviews (30)

Good if you like the folky side of Bob Dylan
Dylan wisely covers some folk classics rather than rely on his on spent creative muse on this album. This way he can collect good ideas for a good album about every ten years, the way John Fogerty does. The CD sounds good, it's as if Dylan is playing live right in your living room. His rough voice and sloppy guitar give him an authenticity as a hobo folk singer, ala Woody Guthrie. However, I don't listen to this CD much, because I like the rock-n-roll Dylan of the late sixties and early seventies better. Having more instrumental back up makes songs more interesting, than an album that just has a voice and guitar. Dylan's mumbling, murmuring voice has really turned sour--too much booze, cigarettes, and rock-n-roll have curdled it worse than it already was. You're really better off buying one of his early folk albums when his voice still had a quirky charm.

mr. dylan's revolution
mr. dylan again reinvents himself and again stirs a revolution. all right, so it's not newport and, no, not as many people were paying attention in 1992 when this album hit the stands, but it sent shockwaves through the musical world. bob dylan had gone back acoustic! this collection of folk songs and blues is powerful from start to finish, with mr. dylan reminding the world that he is an incredible musician, not just an icon. his guitar work is impeccable and his singing as eccentric as ever, but moving in its emotionalism. you feel the plight of the ballads' characters (highlights: frankie and albert, blackjack davey, and the chestnut, froggie went a-courtin'). the blues sound like they are right from the delta (check out "sitting on top of the world," in particular). mr. dylan's return to his roots reveal they are deep and healthy. enjoy the record!

good as i been to you
i think we can all agree that this is not bob's most renowned work. but nonetheless, it is an album which deserves all forms of praise and appreciation because of it's many timeless aspects. the songs are clever and appealing, each with it's own memorable qualities. many say dylan is an acquired taste, well i believe this is the perfect album to become devoted to.

Dylan--Unaccompanied
First: This is Dylan's first release featuring only acoustic guitar as vocal accompaniment (i.e. no band) since Side Two of "Bringing It All Back Home." Second: There are no original Dylan songs on "Good as I Been." Many of the tunes may be somewhat familiar, from "Frankie and Albert" and "Hard Times" to (the throwaway) "Froggie Went A-Courtin'." These two facts should either pique the interest of hardcore Dylan fans ("Hey! Dylan alone with his guitar again--Finally!") or achieve the opposite for those who can't get over his voice (admittedly, there IS a lot to get over on this record). Don't let the unoriginality of the tunes dissuade you--they (generally) are fine songs, and Bob's performances tend to be strong. If you have open ears and a taste for unpolished music, go for it. However, if you're looking for another "It's Alright, Ma" or "Desolation Row," this ain't it.

About some of these reviews...
This album is okay, and I wouldn't disparage anyone who thinks it's great, but those who claim this is Dylan's best album aren't praising Dylan but insulting him. He whipped this off in a day or two at a time when his songwriting skills seemed to have left him. And no matter what you think of his voice (I like it), the fact is it's his songwriting that truly distinguishes him. His voice is a perfect vehicle for those songs, but it's the SONGS for which he'll be remembered. Calling this his best is like ignoring "Blonde on Blonde" while praising "Self-Portrait." ... Read more

Amazon.com

Despite the misleading title, this collection is actually a straight (albeit reordered) reissue of Clark's first two records: 1975's landmark debut Old No. 1 and Texas Cookin' from the following year. Only one song from the latter title is missing, replaced by the "Fools for Each Other" single from 1978. Though he was in his early 30s when he recorded Old No. 1, Clark's keen, world-weary tales (and equally worn voice) belie his age. With simple arrangements and richly detailed narratives, the record has an air of resignation and melancholy, yet somehow manages to be comforting and uplifting. Texas Cookin' is a fine follow-up, but despite a number of high-profile guests, it never truly reaches the heights of its predecessor. Together, however, they form quite an impressive body of original songs, especially for only one year's worth of recording. --Marc Greilsamer ... Read more

Reviews (10)

An American Treasure
Guy Clark is one of the greatest singer-songwriters of all time. Just ask Steve Earle, Lyle Lovett, or any of the hundreds of others who have been influenced by him. This collection contains all of "Old No. 1" and all but one song from "Texas Cookin'." If you can find the Sugar Hill re-releases of those original albums, buy them. If you can't find these, buy this CD, then buy his later albums. It's a great starting point for any newcomer to Guy's music. You'll still hear many of these songs in his live show.

A GREATcombination of songs from an EXCELLENT songwriter.
Guy Clark is definitely one of the best songwriters ever. There is not a bad song from this artist. His music will take you back to a time when life was simple and good. Popular songs which are performed by the original artist are the best. Even his relatively unknown songs are very good. Guy Clark's voice and style will leave you searching for more of his music. "The Essential Guy Clark" is just as it says. Essential.

An old master, here presented as a young upstart...
Not really a "best of" CD, but pretty much a re-issue of his first two records for RCA back in '75 and '76. They probably sell more now than they did then. Guy Clark was never a comfortable fit with commercial country trends, and the folk revival was already gone when he got started. So he did not achieve mass appeal in his early days. But he sure wrote some fine songs. This CD will give you 73 minutes of good stuff. I actually don't play this as frequently as I do his more recent album, "Old Friends", but when I do play it, I find myself wondering why I hadn't pulled it out sooner. My faves on here include "Like a Coat From the Cold" and "That Old Time Feelin'" and "Don't Let the Sunshine Fool You" and "Broken Hearted People." Probably every listener will have different choices. He is personal, intimate, simple, pleasant and worth getting to know. Anyone who can be a friend to Ramblin' Jack Elliot, the cantankerous old folkie who was one of the last singers to work with Woody Guthrie and one of the first to champion Bob Dylan, has to have what they call "people skills." He also coped with the tormented genius Townes van Zandt and has been an inspiration to Nanci Griffith, among many others. This CD gives you a good idea why Mr. Clark is valued by so many artists who sell more records than he does.

Essential is an understatement
Guy Clark is a songwriter. His music is all heart, and you can hear that in every line he sings. His style of music is the pinnacle of singer-songwriters. The words paint a visual, and the music provides a background that sets the mood. Both elements weave together to allow the listener to believe in these songs, and this singer. It's impossible not to love this cd for it's music.

Great compilation.
This is essentially his first two albums compiled, with the exception of a few songs. His first two albums are great. "Old # 1" and "Texas Cookin'". Great songs: Desperado's Waiting for a Train, Old Time Feeling, Let Him Roll, LA Freeway' and many more.
The opening lines to LA Freeway go something like this:
"Pack up all your dishes, Make note of all good wishes, Say 'Good-bye' to the landlord for me, That son of a bitch has always bored me". Have you ever heard better lyrics. The words to 'Old Time Feeling' are among the best ever written. Such great imagery: "Like an old bluestime picker, who don't recall who you are". I could go on forever. ... Read more

Amazon.com

Method Actor is to Eva Cassidy's oeuvre what Get That Feeling is to Jimi Hendrix's index of recordings. Never heard of Get That Feeling? Most Hendrix fans haven't either--nor did Hendrix, for that matter. As with Hendrix, Cassidy's posthumous success has inspired a good deal of digging around for vault material. Method Actor originally came out on vinyl in 1988. The work of pedestrian lite rockers, the 10-song set captures Cassidy in the very early stages of a career than would be cut short a mere eight years later. Occasionally the singer's nascent interpretive skills shine through. The sweeping "Look into My Eyes" benefits from Cassidy's soaring vocal. More often then not, however, this is the work of journeymen who happened to cross paths with a star in the making. Completists will find bits and pieces of these first-time-on-CD recordings of interest (the cover art consists of drawings by the singer), but Cassidy enthusiasts will find this sound foreign to the Cassidy they know and love, and will move on, as she did. --Steven Stolder ... Read more

Reviews (25)

A Stylistic Divergence Worth the Cash
I had read some of the bad reviews here & almost passed on this CD.Glad I don't believe everything I read!I really enjoyed this disc!Technically, it's got much better recording quality than I had anticipated.Listening to this is kind of like listening to the Norah Jones CD "New York City" with the Peter Malik Group.Both were recorded before the singers were well recognized & both show a stylistic divergence from the singers' main body of recorded work.However, the opener "Getting Out" is a gritty blues with Eva well embodying the material with a full-throated Joplinesque wallop.All but one track is penned by David Christopher & are originals."Stay" is a lovely melody with Eva's gorgeous voice hitting the high parts angelically and expressively nailing the lyric, "I stare into the night, thinking of the times we had, never know just how you feel, I wondered if you cared for me, hearts always side by side but never quite together."On "End the Rain" Eva projects a haunting Dusty Springfield feel.Method Actor will be a disappointment if you expect Eva to sound exactly as she does on "Imagine" or one of her other excellent discs.However, as an early recording, this does have consistency and her powerful vocals smack dab in the middle, which makes this worth the cash!Enjoy!

Not Eva's best work...
It's not terrible, but it's just not great.I know and love all of Eva Cassidy's albums, and it's clear after listening to this once or twice that she really was just developing her style and musical preferences when she recorded this album.The voice is there, yes, but her heart just isn't, and that is the crucial element which is what makes her later singing so incredibly powerful.If you are a serious Eva Cassidy fan, it's worth a listen just for interest, but you probably will not listen to it very many times."Eva by Heart" or "Live at Blues Alley" are much better introductions to her incredible singing.

True Eva fans - don't even bother
Don't waste your money - this is a blatant attempt to cash in on Eva Cassidy's posthumous popularity. It's a series of cheesy 80's style originals that completely wastes her peerless voice. The music is canned sounding and amateurish, the lyrics are trite and the whole package is embarrassingly unlistenable. The cover says "Method Actor featuring Eva Caasidy on all tracks". So this isn't even an Eva Cassidy album, it's a band called Method Actor and she's singing with them. And the mix puts her so far in the background she sounds like she's singing in the broom closet. After all the other great collections this was a huge shock. I wish someone had told me this before I bought it!

Listen once and move on
I have most of Eva's solo albums and love them dearly. I regularly give them as gifts.When I received Method Actor I couldn't wait to give it a spin.Boy was I disappointed.This album is nice if want to hear her before she found her wings.But that is no reason to listen to it again.Overly dramatic music and lyrics, technically perfect, emotionally stale.Do your heart and head a favor and listen to "Live at the Blues Alley" instead.This songbird was too new out of the nest.

she made me stop the car and cry
For 30 years I considered the Righteous Bros album Soul and Inspiration (the original one) as the greatest recording of our time. No longer so. Method Actor reaches into the soul and steals it. Listen with your heart, not your mind. Yes, these are a group of beginners, but most beginners never achieve in a lifetime what these people did in a single album. In the 60's and 70's, this would have produced 5 or 6 top 10's. For you purists, get a life, would you please? You screwed up treckkie-dom, now you're trying our patience with your egotistical and useless babbling about something you yourself can never do. Just sit down, relax, and let this album carry you to a better place. Thank God we have as much Eva as we do, people. ... Read more

Reviews (21)

Poetry becomes music
On my first listen to "Billie's Bones" I wondered, "Where's the punch?" It was a nice enough listen, but I wasn't struck by my usual awe that Janis Ian inspires. So I listened again...this time really listened and I ended the CD thinking that this is the most consistently powerful, creative writing I've heard from her (or anyone) in years. The writing is extraordinary. There are too many perfect lines from too many songs on this album for me to elaborate. Briefly stated: this album should be used as a teaching guide for high school and college students who need to hear written thought reduced to a few exquisite words.

More Magic.......
In the 40 years since she composed her first song, Janis Ian has lived life with an intensity to be admired. She has been called too old, too young, and too gay. Labels notwithstanding, she has nine Grammy nominations, two Grammy awards, and is in the Grammy Hall of Fame. She has awards in pop, folk, jazz, and children's music and has recorded duets with country greats Willy Nelson and Dolly Parton. No wonder it can be difficult to find her CDs in the racks. Her music is easy to listen to but not easy to label.

Last month, Ms. Ian released her 18th studio album Billie's Bones, six months on the tail of a live double CD Janis Ian Live: Working Without A Net. Here are two more collections, both diverse and intriguing, to add to her astonishing legacy.

In Working Without A Net, you hear the breadth and the depth of Janis Ian's musical catalog. She is an accomplished guitarist, not afraid to wander the stage to perform a big solo, and has a lot of fun doing it. She jokingly admits she has spent years building a reputation on depression, but her compositions are clever, funny, and moving. In Boots Like Emmy Lou's she humorously looks at life as a country star. She'd "tease her hair like Dolly" and "die without a care". The terrifically inspiring Days Like These reveals the hope Janis mustered on the day the IRS took her last thousand dollars. Ride Me Like A Wave is as sensual as a song can legally be. Ian candidly states these recordings are not always "the best singing I've ever done but are wonderful performances." At times, you can hear the strain of the road, but true to her nature, she weaves heart and perfection into each performance. This is a 'best of' CD worth owning.

Billie's Bones returns to Ms. Ian's roots. This a folk album, highlighted with moments of blues, country, and jazz. It is mature and intense. My Tennessee Hills, a duet with Dolly Parton, exposes their mutual love of Tennessee. Matthew is a sultry contradiction touching on the fear provoked by Mathew Shepard's murder. You can hear her smiling on Mary's Eyes, a tribute to Mary Black, although many swear it reflects Ian's love for Ireland. The title song evolved from a poem written in the 60s revealing the yearning to live up to her idol, Billie Holliday. In this album, Janis Ian again proves that she is a masterful singer and songwriter.

At the cellular level, Ms. Ian is a performer. Her songwriting allows her to be a magician, "turning lead into gold". It is an "immense privilege", she acknowledges, to have the talent and luck to do what she loves, a hundred nights each year.

Classic Janis Ian
This is a gorgeous CD;
Took me back to the '70's and all the soul searching of Janis's early stuff... peaceful moods, deep thoughts - ; Dolly Parton duet just lovely!
Buy it.

Print of Palm on the Pillow
"Billie's Bones" continues the creative streak for Janis Ian who is repeatedly hitting artistic heights. Four songs on the set comprise a bit of a travelogue. The most familiar for me is a song I fell in love with on Joan Baez's 1992 CD "Play Me Backwards." Janis writes "Amsterdam" with Buddy Mondlock who recently worked with Art Garfunkel & Maia Sharp on the gorgeous "Everything Waits to Be Noticed" CD. Janis marries a particularly haunting melody with intricate lyrical images, "Just the scent of perfume on the linen, just the print of a palm on the pillow, just the hint of the moon from the window, Amsterdam." "Paris In Your Eyes" boasts a romantically drenched lyric with a soft acoustic melody, "Every time I touched you, I could taste a breath of spring." Another stop on Janis' travelogue is the excellent instrumental "Marching on Glasgow." The last song with a geographic title reference is "My Tennessee Hills" with Dolly Parton's lovely supporting vocal. The most powerful song for me combines a Billie Holiday "Strange Fruit" jazz-blues approach to the death of Matthew Shepard, "What makes a man a man? The cut of a coat, the hint of a tan? It's not who you love, but whether you can, What makes a man a man." On "Save Somebody" Janis' distinctive melody combines with an incredibly poetic lyric, "There's a crack in the heavens & a tear in the sky; it cuts through the shadows living in her eyes." Janis' tribute to Mary Black is quite lovely. If one measured the creative high points of Janis Ian's career, an appropriate metaphor would be the Andes Mountains. This is another exquisite set by one of our master musicians. Bravo!

Make No Bones About It!
Okay, I'll admit it. I've been a Janis Ian devotee since I was a teenager identifying with her infamous "At Seventeen." Every time Janis is in town, I make it a point to see her concert. There is not one person in all of the music industry, in any genre, who even compares. Janis has it all. She is the quintessential renaissance talent. Her songwriting gift outshines in every possible genre. Her guitar playing is above and beyond the best in rock, jazz and blues. Her tender vocals express the pain and joy in every lyric line. And with "Billie's Bones," Janis has once again risen to the occasion on every track. As a followup album to her "Live Without A Net" CD (also a must buy), "Billie's Bones" speaks to all ages.

There simply isn't a better songwriter to be found. Janis makes every word count. Every note rings true.

If you think you know Janis Ian, she proves that there's much more to discover. If you've never heard Janis Ian, buy "Billie's Bones" and "Live Without A Net." And then get thee to her next concert for an amazing performance!

I guarantee you that once you've experienced Janis Ian's music, you will be moved by the power of her talents. ... Read more